3.0.2 O consumo passivo

Ouvintes e as redes sociais

«About 33 million Americans 12+ listen to an Internet station in an average week. That’s four million more than a year ago according to the annual “Infinite Dial” study by Arbitron and Edison Media Research. About two-thirds of online radio listeners have a profile on a social networking website. The most popular sites are MySpace and Linked-In.»

Online listeners tap into social networks, Inside Radio, 18/03/08

«* While nearly one-quarter (24 percent) of all Americans age 12 or older have a profile on a social networking Web site such as MySpace, Facebook or Linked-In, nearly two-thirds (63 percent) of online radio listeners have a profile on sites such as these
* One-third of online radio listeners with a social network profile visit their social networking site nearly every day or several times per day
* The top social networking Web sites among online radio listeners are MySpace and the business professional networking service Linked-In. Twenty-eight percent of online radio listeners have a MySpace page, while nearly one-quarter (24 percent) have a profile on Linked-In.

"Social networking is clearly not about creating exclusive, self-enclosed communities," said Diane Williams, senior analyst, custom research for Arbitron. "We found that online radio listeners are more than one and half times more likely to have a profile on a social networking site as compared to average Americans and that they tend to be power-users with one-third of online radio listeners logging on to their social networking site nearly every day or even multiple times per day."

In addition to studying the correlation between social networkers and their online radio usage, the Infinite Dial 2008 report will detail the latest data on the general online radio listening universe and will explore how consumers interact and explore radio and all of its digital platforms» Online Radio Reaches 33 Million Americans Per Week

Ver as letras das musicas, enquanto se ouve...

«Come along and sing a song and join the jamboree, indeed.
Radio Disney has completed a licensing agreement with Gracenote that allows Radio Disney to publish copyrighted lyrics. Kids can now see lyrics and sing along to Radio Disney songs while listening via the Internet Radio Player on RadioDisney.com.
Terms of the deal were not disclosed.
Michael Peterson, executive director, digital distribution, Radio Disney, said, “The integration of lyrics into our Internet Radio Player is another way for us to leverage digital technologies to provide new and exciting user experiences for our young listeners who love to know the words to their favorite songs.” »

A rádio é a menos preparada para o digital (?)

«But of all major consumer media, radio is the least suited to an online transition. (...) Industry executives fiercely deny this point, but consider the landscape. Newspapers' ills are well-documented, and I've had much sport with them in this space. But the local paper's Web site is almost always the dominant local online entity. Newspapers churn out tons of original content daily. Radio is built to a large degree on music it doesn't own and syndicated talk shows. Both are available in countless venues online, which means radio Web sites have less unique stuff to attract audiences. And stations aren't structured like newspapers. While their profit margins are much higher—try 40% and up—they also have much smaller news organizations and fewer bodies to create new content that can be slapped up online. Ryvicker says radio companies that are doing well in the Web are getting 1% to 2% of revenues from it. Hogan says Clear Channel Radio will get 5% of revenues from its 1,005 Web sites "very soon" but isn't there yet. (Radio executives also extol the revenue potential of radio stars turning up on cable, à la Imus, or on local TV, but few can make that leap.)» fonte Requiem for Old-Time Radio by Jon Fine 28/02/08

Mark Ramsey: «Where Business Week goes wrong, I think, is in underestimating the relationship that millions of radio listeners have with their favorite stations. And underestimating the value of "permission" that those listeners grant those stations to communicate with them, whether that communication is about station content or the benefits of various advertiser partners.

This is a huge advantage for the radio industry, one that has barely been realized to date when it comes to digital content. And woe unto those (outside the radio industry or inside it) who underestimate its value.

In the long run, your radio station is the loudspeaker for your content online. The "non-traditional revenue" will be today's spot revenue, and the NEW-traditional revenue will be sourced online. Get this through your heads and we can start creating our future.»

A incapacidade da industria perceber o que está em causa

«(...) Clear Channel's John Hogan said "performance and capability is not our problem. Our problem is one of perception".
No.
Consolidators like Clear Channel but not limited to Clear Channel either just don't get it or they don't want us to get it.
1. They try to grow a business by cutting back.
2. They embrace the wrong technology (HD instead of mobile/Internet).
3. They have driven off the next generation -- have no clue what they want -- and think the problem is about perception. No one cares about perception -- they care about content and -- I might add -- how it is delivered. (...) I am convinced that as much as radio groups say they understand the Internet, they don't. It is a delivery system -- plain and simple. It needs content. One would think they would want to be in that business.»

fonte: Jerry del Colliano, Redefine Radio -- Don't Reinvent It 4/02/08 Inside Music Media

A escuta através da net começa a ter dimensão

«More than 8 million people in the UK listen to web-based radio services every week and nearly 2 million download podcasts on a weekly basis, according to a survey that suggests internet radio has hit the mainstream.

Commissioned by the industry's audience research body Rajar, the Ipsos Mori survey last autumn found that more than 12 million people have listened to the radio online and 8.1 million listen every week either through live streaming or "listen again" services.

Ipsos Mori found that 75% of users do not listen to less live radio as a result of listening again online, with 50% tuning into new shows as a result» Jemima Kiss guardian.co.uk, January 28 2008

Rádios tambem criam redes sociais (EUA)

«Radio jumps on the social networking craze.
Forget Facebook and MySpace - more stations are launching a social networking component and some predict it could eventually become a solid revenue source. Clear Channel's social networking beta test has more than 150,000 registered users since its launch last April with two million page views each week» Inside Radio, 22/01/08.

O MySpace substitui a rádio

«In the absence of radio play, garage bands all across America are establishing a presence on MySpace, a social-networking site popular with young adults. According to MySpace, more than 240,000 artists of every kind -- from unsigned amateurs to international rock stars -- are using MySpace as a way to market themselves and build a fan base. Artists are using the site to build massive social networks and spread the word about upcoming shows and CD releases. Startup bands like My Chemical Romance have launched careers exclusively through MySpace, collecting more than 100,000 fans through the service. As the seventh most popular domain on the internet in terms of pageviews, according to February numbers from comScore Media Metrix, MySpace gives bands the chance to be seen and heard in a way never before possible. Traditionally, bands toured cities and played dive bars to create buzz about their music. But with MySpace, bands can host demos of their songs, announce shows and connect with fans without spending weeks on the road. (...) "It's a medium where people can go and hear new music and develop an attachment to the band," said Miller. MySpace is aimed at teenagers. It claims more than 15 million members, and even established acts like Weezer, Beck and Billy Corgan are starting to realize the potential of social networking.»

fonte: «Bands Embrace Social Networking» Wired, 18/05/05, david Cohn

Um receptor que grava e reproduz várias emissões rádio

«“Why didn’t anyone think of that before?” – It’s a Tivo-like device for radio that can record and playback multiple streams of radio bands. The radio will have multiple antennas which record AM, FM, Satellite and HD radio signals. It will also be able to record audio on any upcoming Wi-Max and 700 Mhz radio stations. Like Tivo, the unit digitizes content and stores it for later playback. Songs, talk shows and other content can be paused and replayed. You can even skip those annoying ads. 3DRadio doesn’t actually have a booth at the Consumer Electronics show and company rep Alan Kaplan actually pitched us the product as we were walking to a press conference. The company is looking for a hardware manufacturer to churn out the multi-channel radio, but Kaplan says the software portion is basically done. He has offered to show us a demo later in the show and we’ll update this article if that happens. 3DRadio will start selling units for in-vehicle use and then branch out to portable and home markets. He expects consumer units to be available by Christmas of this year.»

fonte: «CES 2008: 3DRadio, Tivo for radio», 7/1/08, Tom's Hardware 

A rádio deve criar comunidades on line

«A rádio é também o espaço que mais facilmente, num contexto nacional, pode competir com redes sociais como o myspace.com na descoberta de novos talentos musicais e também é o espaço, por excelência, para a partilha de receitas com os artistas que seguem o modelo “livre de editora”. È claro que nem todas as rádios estarão preparadas para este novo modelo ou, se quisermos, vida. As rádios que nas suas emissões mais apostam na intimidade com os seus ouvintes são, porventura, as que melhor podem passar à criação de comunidades online. O sucesso está em conseguir criar redes alargadas, ou seja, chamar os seus ouvintes até esses espaços, num processo lento e de respeito para com essa relação e ao mesmo tempo diversificar para outros espaços falantes de português ou onde portugueses se encontrem, pois os espaços virtuais tais como os outros espaços precisam de diversidade para atraírem novos elementos e consolidarem as redes.»

fonte: CARDOSO, Gustavo, «A terceira vida da rádio», Editorial Obercom, s/d (2007?)

Uma palavra de 2007, widgets

«This year saw the emergence of a new buzzword in the digital music space -- widgets. Next year, we'll see if they do any good.

An offshoot of the global social networking trend, widgets are small applications that users can place into their blogs, profiles and Web sites, and thereby extend the functionality of an otherwise separate Web site or service. What's more, users can simply copy widgets found on friends' profiles and insert them onto their own, thus enabling a tremendously viral distribution opportunity.

The concept gained prominence in 2007, picking up momentum once Facebook opened its platform so that any developer could write an application using its user data and connections. Then Google upped the ante with its OpenSocial initiative, a standardized widget-development tool that would allow developers to write one application that can work with any social networking site adopting the technology -- which include MySpace and Bebo. ComScore, a leading Web traffic monitoring firm, even began a metrics service tracking the most popular widgets and their usage.

These widgets have opened the door to a whole new style of selling content and services online, called "distributed commerce." Simply put, rather than making customers navigate to a specific site to buy a concert ticket or a music download, widgets allow bands and their fans to sell the same from their own Web sites. If iTunes is the Wal-Mart of music, widgets are more like vending machines.»

(5.2 optimismo) «A rádio tem uma oportunidade fantástica» (?)

«Gerry Fabio defende que a e ’indústria da rádio está muito mal explorada", mas acredita que esta tem actualmente uma ’oportunidade fantáscica’, já que o ’mundo do marketing caminha para ela’. (...) O fundador e presidente da empresa norte-americana Creative Resources refere que actualmente a rádio é muito mais que uma estação, já que ’todas as ferramentas [como o vídeo e o online] estão disponíveis". "É necessário pensar mais largo do que a audiência, é preciso pensar em todas as maneiras de atingir os consumidores dos produtos que os clientes querem promover«, diz. E também considera que a rádio reúne todas as condições necessárias para impactar o consumidor moderno, com ’várias linguagens e tecnologias’ o que se for bem feito ’pode ter um efeito viral’» fonte: «REAL, Hugo, «’A rádio está muito mal explorada’», Diário Económico, 6/11/07, pág 47

(5.2) A rádio num momento de transição

... e de transição porque se abandonou o paradigma anterior, o da emissão hertziana, pensada de um para muitos, para um momento de coabitação entre várias plataformas e vários modelos de emissão/recepção: o hertziano ainda está presente, mas junta-se-lhe o DAB, o satélite, o HD e sobretudo a Internet. O momento é de transição porque de acumulação (com o hertziano ainda dominante, mas cada vez menos); é de expectativa, mas tambem de ligação ao passado (como falava McLuhan), à espera de uma clarificação, da superação de uma plataforma em detrimento de outras, uma vez que ninguém se atreve a decretar (o proprio switch off do analogico ainda está distante).

Recomendações

«It’s disconcerting to see that a majority of time spent listening to recorded music is to mediums other than radio.  Yet, the bottom has not fallen out. 73% of respondents say a majority of their music listening time is spent listening to music on sources other than radio (CDs, MP3s, iPods, streaming, satellite radio, etc).  Graph 1 The next finding is a bit surprising to me having moderated Paragon Media Strategies focus groups for last year’s NAB.  A very respectable 41% of the time 14 to 24 year olds spend listening to recorded music is to radio. Graph 2 The key concern is that we may be nurturing a generation who find radio nearly irrelevant.  Listening to music on sources other than radio is pronounced among younger and male respondents. Graph 3 For now, radio retains its position as the medium of convenience.  Yet radio needs to be sure to offer formats that resonate with younger listeners; no mean feat as owners pursue the 25-54 “money demo.”  It also needs to capitalize on its unique selling propositions: exposing new music, variety (between and within formats), and providing a human bond.  There needs to be a discernable human intelligence behind what’s being presented to younger listeners; not jukebox programmed by rote.» fonte: «The Floor Is Still There», Paragon Media Strategies, 1/11/07

(5.2, optimism) Comparar a internet na rádio com o Fm ou o transístor

«La nueva comunicación radiofónica por Internet incorpora los elementos originales de ésta: interactividad, hipervínculos y navegación. Son conceptos enriquecedores y que suponen un cambio tan importante como el que en su
momento fue la introducción de la estereofonía, la FM, los transistores. La grabación en cinta de aquella época hoy está vinculada a la grabación digital en disquetes o en discos duros de cualquier mensaje musical, oral sonidos de
ambiente. Son los elementos definidores de la nueva modalidad radiofónica»

fonte: Cebrian Herreros, Radio en Internet
http://www.nebrija.com/eventos/dca/ciberperiodismo/Ponen_Cebrian_12-03-03.pdf

O erro de se limitar ao simulcasting; propostas

Mark Ramsey: «My belief is this: It's not radio's fault that we lost this audience. But it will most definitely be our fault if we fail to get them back.»

O que é que Ramsey sugere?

«Why is your stream limited to your station's audio? Why not stream your station's video as well? And why not include chat capability in the streaming window so that listeners can talk to each other and to your talent? We're making the mistake of envisioning a station's stream as "our over-the-air station online," but this is wrong. The medium, as the saying goes, is the message. And a book is different from the movie based on that book in large part because the medium requires them to be different and the medium enables them to be different» e «Very few stations provide more than one stream on their website. That is, if you can brand one version of your station, why can't you brand several? And why can't they be tailored to different genres or moods or content elements (e.g., the All-Morning Show stream)? This is a tremendous lost opportunity, and I'm surprised more stations don't get this. As I recently reported, less than half of commercial stations stream their programming at all, let alone go "beyond the call" in the ways I'm suggesting. Yes, I know there are fears about licensing costs and bandwidth costs and the costs of losing rated on-air listeners to unrated off-air streams. But until you build these streams, the listeners can't come. And until they come you can't monetize them. And until you monetize them you will stand by and wait while your audience gets what they want and need from elsewhere online»

Rádios devem apostar em sites com redes sociais

«Radio stations - and radio companies - that move their websites from just being flashy, one-dimensional billboards to truly interactive meeting places can benefit greatly in the next few years.  Boomers may have learned all about computers in the workplace, but many now regard the Internet as being integral parts of their lives.  As they share photos, concert stories, and life experiences with friends and family, radio can and should be a facilitator in making it happen.»

fonte:Fred Jacobs,  «Old Man, Take A Look At My Website», Jacoblog

Um diagnóstico sobre o presente da rádio (o tal «segundo choque»)

Doug Hall: «In the past few years alone the number of alternativas to faithful old radio has exploded. Today magical, invisible audio can meet your ears via the Internet, over your cell phone, via Satellite, through your mp3 player, and so on. For much of its history radio has owned the only route to your ears. That kind of responsibility is a freedom and a curse. A freedom because it allows the creation of audio wonders great and small. A curse because the absence of competition from alternate technologies has a way of promoting a fat and happy settling, a bloated behemoth of an industry which knows how to do what it has always done, but not what it needs to do next. The status quo perpetuates nothing so much as more status quo. In the years to come radio will experience the most profound challenges to its status quo ever. We are entering a time where smart thinking, novel ideas, and profound innovacion will spell the difference between relevance for future generations and quaint nostalgic obsolescence.» (Ramsey, 2005: 1) 

Metamorfose, uma palavra adequada para a realidade da rádio

«The Media Audit’s Phillip Beswick says "Metamorphosis is a fit word to describe what radio is going through right now and the decade to come." Not just from new media audio distribution channels, but also from new competition for radio’s advertising revenue. Beswick says radio has attracted people that thrive on competition. But perhaps more importantly, he thinks consolidation into well-financed corporations will help radio "take on the significant challenges inherent with metamorphosis."

fonte: SAXE, Frank, "", Inside Radio, NAB Radio Show, Setembro 07, pag 8

«O futuro parece brilhante»

«"The long term prospects for our business look very bright if, and only if, we aggressively seize on the opportunities that new technology and changing market needs are pointing out to us," says Greater Media CEO Peter Smyth. He predicts radio will be the "center point of a web of communication channels" in the coming decade, as listeners turn to radio for recommendations, resources and reflections of their city.» fonte: SAXE, Frank, "Looking towards radio's long-term future", Inside Radio, NAB Radio Show, Setembro 07, pag 6

Comprar um rádio? Não,comprar algo com rádio...

Mark Ramsey: «I made the point more than a year ago that, as I put it, "people generally don't buy radios, they buy things that contain radios."»